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I was pretty confused when you said you were going by stops here, since a stop would be twice as long. I think what you're actually doing is rounded off half stops. So it would be (2^2)=4, (2^2.5)=5.6, (2^3)=8, (2^3.5)=11.3, (2^4)=16, (2^4.5)=22.6 for exact half stops, and then you've rounded these off.

Lovely work and well deserved of an exhibition. I would be interested to see how you make your digital negative. What process do you use for obtaining the ink colour/density before you print it on the pictorico paper? Many thanks for your content.

I understand the intention and the procedure but I think there is an error in the time calculations, increments of one step with a base exposure of 4 seconds would be 8, 16, 32, 64, 128...

Very nice work. Photographic exposure is logarithmic, not linear. Note that the shutter speeds go in approximate doubling and the /f stops are powers of the square root of two. Rather that 1, 2, 3, 4, 5 and 6 minutes, you could use 1, 1:25, 2, 2:49, 4, 5:39 and 8. This will give a more uniform gradation of density.

congratulations on a nice print , keep it up more kids need to be printing when shooting on film .. the print is the goal!!

Such a wonderfully informative video! Thank you for answering the question that I've had for a while about whither you can use the sun as your light source for platinum prints! Though I'm just beginning my journey in alternate photography I look forward to watching more of your informative videos.

Awesome!

Cool!!!!!!

Should have mentioned the other main accessory every long haired medium shooter needs: hair tie! Looks super fun. One day I hope to give it a go.

3:40 is beautiful and better without people, it brings some emptiness and Zen feeling

Nicely done!

Thank you for this, nicely done sir, nicely done...

J'apprécie particulièrement les portraits à la chambre photo 10 x 12 c m ou 4 x 5 i n c h, on fait des très beaux portraits sans aucune granulation, et avec une certaine netteté.et une certaine profondeur,et avec le papier photo traditionnel, que l'on peut développer jusqu'au bout, on aura un travail d'une très grande qualité.

Nicely done!

fascinating process ! great prints

really well made video 👍

Thanks so much for this demonstration, I do like this approach and will be trying it soon!

Ryan what did you just do! This is genius.

How wonderful having all that processing equipment!

She was perfect for this video i love her natural laugh very beautiful pictures

I liked the square where the bass player was.

I enjoyed watching your platinum process and print mounting. Cool stuff!

You just save me from cutting unimaginable amount of test stips and save's a lot of paper! thank you very much. Pawn Star's be like: Best I can do it's a sub.

Those are beautiful shots! The texture of the paper adds to the picture.

why do you set your aperture at F/45 ?

Basic, straight, I love it ! Thanks for recording the interaction with the person in front of the camera while taking the image - this is an important part!

thanks so much for posting the lecture and beautiful project! the inspirations you shared were also very fun!

Object brightness, aperture, time, makes exposure. The goal is to match exposure required by your film. With film you can't change iso on the same film. À film requires one level of exposure, your role is to play with light aperture and time to match this requirement.

That's a premiere 😅 I have to try this. Anyone knows how to match the Y and X axis in the darkroom?

Doesn't look any better than my Hasselblad

Can you make a similar video with the enlargement process of 35mm?

It would have been nice to have viewed the straight print properly

Flashbacks. Nice work. 30 minutes to "develop" seemed long at first, but then I thought, oh, he must reference the entire wet process: developer, [stop bath,] fixation, rinsing? You must know all the following, but it could make for a next video, maybe. I'd argue that the slowness is not in the tray you use, because the entire process will need some 30 minutes, however "we" had upright tanks that we could hang a number of negatives in so as to process them all together. You use the metal frame hanging in the drying cabinet and that frame works upright in the wet too. So, yes, the per negative slowness follows from the tray that accommodates only one negative at a time. Another thing is that the film developer solution has its chemicals sucked out of the water surrounding the film into the emulsion. This robs a thin layer of water around the film from chemicals and as long as you don't move the tray, diffusion that goes slow will bring unused chemicals into that "empty" space. Some photographers in the past (and still today) could religiously process their film that way but it would take much more time. Reasons to play with "motion" - how wild and how many times - during developing: it impacts contrast/gradation, contrast envelope, and may impact "sensitivity", plus it may impact grain. With such standing tanks, we would "replenish" the solution after each use, up to a number of times, because each use consumed part of the chemicals in the water. That's less precise and more economical, than taking a new solution every time. In the video, you don't go into tilt/shift and stay away from Scheimpflug's Law, not a problem (although a mathemagician would argue you do use that law because of an axiom in geometry), but also good to point at. You can use a simple large format camera without all the hassle. As you exposed the landscape image in full daylight for a relatively long time, you must have stopped down the aperture a lot - what aperture number was it at? And, as you stopped that lens down a lot, what lens was it? "We" had so-called " 8"*10" " lenses, way back that only gave an image circle large enough when stopped down a lot. At full open they might do 5"*7" or 4"*5" without having to worry. Which is to say, did you stop down purely for Depth of Field (DoF), or to arrive in the lens's operational zone? Do you have a 4"*5" adapter-back with the 8"*10"? Then you can do what Yousuf Karsh [1] did in most of his portraits - he used a Kodak 14" ("Commercial Ektar") lens cropped and that gave him "portrait distance" in the case of half or head shots. As the 14" at 8"*10" compares to your 35mm "full frame" camera's "nifty fifty", I would also point to the focal length of 355.6 mm (=14"). At 8"*10" you would need some 600mm for an image angle comparable to 85mm with 35mm and a 350mm or 600mm has shallow DoF even at f/22. [1] Yousuf Karsh (1908-2002) - during his career as portrait photographer held 15,312 sittings, producing over 250,000 negatives. Some of the sitters were: Albert Camus, Albert Einstein, Albert Schweitzer, Alberto Giacometti, Alfred Hitchcock, Andy Warhol, Angelo Giuseppe Roncalli _AKA_ Pope John XXIII, Anita Ekberg, Anjezë Gonxhe Bojaxhiu _AKA_ Mother Teresa, Ansel Adams, Apollo 11: Neil A. Armstrong & Michael Collins & Edwin E. 'Buzz' Aldrin, Jr., Audrey Hepburn, Bernard Shaw, Brigitte Bardot, Carl Jung, Charles-Édouard Jeanneret _AKA_ Le Corbusier, Christian Dior, Clark Gable, Dwight Eisenhower, Eleanor Roosevelt, Elizabeth II Queen of England, Elizabeth Taylor, Ernest Hemingway, Fidel Castro, Frank Lloyd Wright, George Bernard Shaw, Georgia O'Keefe, Gerard Depardieu, Grace Kelly _AKA_ Princess Grace, Gregory Peck, Helen Keller and Polly Thompson, I.M. Pei, Jacqueline Kennedy, Jacques Cousteau, Jan Smuts, Jessye Norman, Joan Miró, John and Jacqueline Kennedy, John F. Kennedy, Karol Józef Wojtyła _AKA_ Pope John Paul II, King Faisal, Lord Beaverbrook, Man Ray, Marc Chagall, Marcel Marceau, Marian Anderson, Martha Graham, Martin Luther King Jr., Mikhail Gorbachev, Mstislav Rostropovich, Muhammad Ali, Nelson Mandela, Pablo Casals, Pablo Picasso, Queen Elizabeth II and Prince Philip, Robert Oppenheimer, Sophia Loren, Ulla Jacobsen, W.H. Auden, Walt Disney, Winston Churchill.

One thing I learned about medium and large format cameras is You need a HD Tripod 😊

The Intrepid isn't the prettiest camera, but it gets the job done. 8x10 is a great format. The Stearman developing tray is the way to go. But is is a little slow as you said. I also use mine for 4 sheets of 4x5 as well.

How about a video showing the process to make an enlargement from sheet film.

Excellent video.

Nice job. Way better than most RUclips photography videos.

Good work, very pleasant and enjoyable presentation; thank you for the “courage to travel into into areas less traveled”… and be excited and encouraged by the outcomes…

Excellent explanation of the split filter printing technique. The music however is too overpowering (it's also damn good!) when you're talking; it's competing at times, I found myself listening to the bass lines and then having to go back to hear what you had just said. :)

I’m confused with your description of stops with time. If you want a stop increase of exposure, don’t you need 8 seconds after the initial 4? I’m confused why you are using aperture values. Help!

Hi great video, I tried this and found when I did the vertical lines with magenta at a grade 5. There were no lines and no differences. Any suggestions on what might be causing this?

Fantastic video! One question of understanding: Do I need to select the desired contrast grade (magenta value) before doing the teststrip, or do I always use the hardest grade, and the amount of contrast is determined by the exposure time for magenta?

This is genius. Thanks for putting it out there and teaching me a new darkroom technique.

Thanks for sharing ! Best Video on YT about splitgrade printing IMHO

I have noticed that I have had to increase my highlights filtration to as much as a #2 filter using under lens filtration with a LED light head. Do you have a good source for a time chart for f stop printing? My head is very bright and exposure times much lower. Great video. BTW

D-76 or xtol?

You have put it perfectly. thank you very much.

I like it. I have always wanted to get a dichroic enlarger to experiment making B/W prints from color negs and seeing how different colors can be rendered in grey scale via different cyan, magenta and yellow levels. Tried color to b/w with standard enlarger and contrast filters and a couple camera lens filters of various color. I have a couple interesting results but nothing noteworthy.

That was just what I have been trying to cook up. This is the way! Thank you.